Fashion Lion Spring 2024

C o n t r i b u t o rs

MODELS Elyssa Cheesman '24 Stephanie Hegedus '23 Quinlyn Hoover '27 Emily Johnson '24 Angel Leon '27 Evalina McBride '27 Alexandra Pancu '25 Caroline Parker '24 Isabella Razzano '25 Donia Shalal '24 Katelyn Schweitzer '24

STYLISTS

Emily Johnson '24

Emily Johnson '24 Tiaja Money '24

Copy Editors: Stephanie Hegedus ’23, student co-editor; Emily Johnson ’24 student co-editor; Elizabeth Quinn M.S., assistant professor of fashion Writers: Sangyeun Ahn '2, Irma Fourrien '26, Laurel Gingrich '24, Stephanie Hegedus '23, Sunwoo Hahm '2, Asha Johnson '23, Emily Johnson '24, Alexandra Pancu '25, Caroline Parker '24, Isabella Razzano '25, Ally Santos '24, Katelyn Schweitzer '24, Dylan Sokolovich '24, Ciarra Thompson '25 Photographers: Kiara Cruz '25, Emily Johnson '24, John Pankratz Ph.D. Layout Design: Stephanie Hegedus '23, Emily Johnson '24 Faculty Adviser: Elizabeth Quinn M.S.

T H E A L B R I G H T C O L L E G E F A S H I O N D E PA R T M E N T M A G A Z I N E • 2 0 2 3 / 2 0 2 4

FASHION LION

Metamorphosis

Letter from the Co-Editors Do all fashion people believe they’re living through the best time for fashion?

This assumption would presumably be hard to gauge or measure but seems inevitably true. Fashion from the past is marked by nostalgia and can feel outdated; the fashion of the future is too far off to pledge our hearts to. We are left with only the present, only what is being shown to us right now, even if it doesn’t last very long. Change has become our only constant, and we must keep up with it, if we can.

Sometimes, this might not be ideal- there might not be enough inspiration or artistic verve to properly go around.

Fortunately, right now is not one of those times. In fact, one could argue we’re experiencing quite the antithesis to rock bottom. From a seemingly endless onslaught of collections flowing from the hands of designers (new and old), that inspire as well as excite, to a grocery list of trends that expand and contort in new ways every time a social media feed is refreshed: there’s a sense that fashion is back, reborn again every time a new change occurs.

I feel there is, however, one thing that remains the same. Cast your mind back to the year 2008, and you might be able to imagine six-year-old me: a girl enamored with fashion, wondering what there might be to find within it. In my years as a fashion student at Albright, I’ve noticed this same spark, almost like a golden strand of excitement, running through all of my peers; as if the childlike wonder we held for fashion is still there, peeking through time. I hope as you read on, you see it exactly as I do; that all of our contributors were once much smaller, with big dreams of who they would become.

The ideas covered within these pages are as varied as the people who have explored them- ranging from the talent of Albright designers at NYFW, to the impact of trends that could be described by a myriad of words: sporty, spunky, silly, sophisticated.

I’m not sure what the constraints of time and space look like, but I’d be willing to wager that whatever plane my six year old self exists on, she is very excited for you to absorb what we’ve created, and hopeful that you walk away inspired.

With love, Stephanie Hegedus ’23, student co-editor

Dear sports fanatics, K-Pop stans, office sirens, vintage collectors, and fashion-forward dressers alike, If I remember one thing from my history of fashion class, it is that fashion reflects the zeitgeist.

Just like ourselves, fashion undergoes continuous metamorphosis (and it rightfully should). What was once deemed trendy yesterday may be reimagined entirely tomorrow. If fashion remained stagnant, it would be doing us a disservice, just like if we didn’t change ourselves. By transforming to reflect pop culture, social times, or evolving for better functionality, garments can align with attitudes, culture, and identities.

As a psychology-turned-fashion major, I never realized how much the two subjects overlapped. Sure, they have their obvious differences; but at their core, they both delve into the complexities of human expression and identity. And with that, when our words fail to resonate, we can display our sense of self through faux fur coats, cowgirl boots, or Adidas Sambas that we hold so dear.

As you flip through the pages written by various journalists with unique perspectives, I hope you remember that fashion is not just about what we wear; it’s the spirit of the times. Each little black dress, each ribbon bow, each contrasting stitch invites us to think about metamorphosis – the shedding of old skins and partaking in the new.

Fashion has infiltrated various industries like music, sports, and technology, and an entire week in New York and countries around the world is dedicated to it. It has manifested in every nook and cranny of the world, creating a rich synesthetic experience.

If it weren't for fashion-forward thinkers, rebellious youths, or out-of-the-box creatives, fashion would have never escaped the cocoon of traditionalists who prefer familiarity over novelty.

With excitement for what’s yet to come, Emily Johnson '24, student co-editor

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Cover Photo: Stephanie Hegedus '23 Photo by Kiara Cruz '25

& Q A

By Katelyn Schweitzer '24

with

She’s an icon, she’s a legend, and she is the moment.

Caroline Vazzana, aka the modern-day Carrie Bradshaw, is known for her eclectic style and passion for fashion.

Caroline’s outfits typically consist of fun colors, funky prints and patterns, and maximalist designs. Taking inspiration from fashion designer Betsey Johnson and others, her complex looks always stand out.

Not to mention, she’s an author, fashion editor, and stylist. Vazzana graduated from Albright College with a bachelor’s degree in Fashion Design and Merchandising in 2014. After working in fashion for just a few short years, she wrote a book called Making It in Manhattan: The Beginner’s Guide to Surviving and Thriving in the World of Fashion . Her book gives insight and advice on how to get ahead in the fashion industry. In addition to attending fashion shows, creating social media content, and creating her own clothing line, “Making It In Manhattan” has also now become a podcast.

Q: Have you always wanted to start a podcast, and if so, why?

A: For the past few years, I’ve really wanted to start a podcast. I thought it would be a great way to connect with my community in a deeper way and give them advice or answer questions in a way I can’t normally.

Q: What is your favorite podcast episode that you have done so far?

A: I really love all of my interviews. From Betsey Johnson to Cynthia Rowley, it’s so special sitting down and speaking with these women I admire.

Q: What is one thing you want people to take away from your podcast?

A: I want to inspire them to always chase their dreams and that no dream is too big. Also, to always wear what they love, not to care what others think, and to dress outside the lines.

Q: How do you feel that your podcast has changed your career goals?

A: It’s made me want to continue building this deeper connection with my audience and it’s also inspired me to do more projects in front of the camera. Maybe TV or hosting, I’d love to continue trying out new things and pushing myself out of my comfort zone.

Q: How do you think your podcast has influenced

Photo courtesy of Caroline Vazzana

Caroline Vazzana individuals or changed the industry today?

A: I just hope my listeners always leave feeling inspired and like they can do anything. Every Tuesday when my episodes come out, I want people to feel like they’re sitting down with a big sister or best friend who is guiding them and helping them navigate life.

Caroline Vazzana’s work is all about inspiring, motivating, and influencing individuals to go after their dreams and become the best versions of themselves. Her colorful and chic outfits will forever remain iconic. Vazzana continues to leave a legacy in the fashion industry and always reminds us that confidence is the best outfit you can wear.

FASHION LION • THE ALBRIGHT COLLEGE FASHION DEPARTMENT MAGA ZINE

Campus Highlights

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From the

Front

Row

By Alexandra Pancu '25

Albright College, recognized as one of the top fashion programs in

the country, proudly presented its third New York Fashion Week show on September 9, 2023. This past year's show was arguably its most successful yet. Albright College was among the few universities to host its very own fashion show during this renowned week in New York City. The production was expertly managed by the public relations company VERY New York, co-founded by Albright alumni Scott French. This remarkable show featured some of Albright's most innovative and talented designers to date, underscoring the institution's commitment to pushing the boundaries of fashion creativity.

The event showcased designs from recent graduates of Albright College's spring ‘23 class, including Viki Aquino, Zyaire Valentine, and Nicholas Kedge. Additionally, the fashion show exhibited works from Jasmin Burton '17, Alfredo Diaz '16, and Susan Benitez '15.

To the delight of all six designers, Albright's third annual fashion show was hosted in a more intimate and luxurious venue adorned with gold-decaled seating and crystal chandelier lights. In total, 42 handcrafted and meticulously designed pieces graced the new runway, all created by alumni of Albright College.

Valentine's futuristic and editorial gowns stole the spotlight this year, with holographic garments shimmering like a moonlit night sky. Designers Alfredo Diaz and Jasmine Burton each presented intricate resort wear collections featuring a vibrant range of colors and trailblazing silhouettes adorned with cutouts and dynamic diagonal lines that had the crowd enthralled. Ultimately commanding the runway again this year was Nicholas Kedge’s designs which were truly avant-garde and featured some of his signature cut-out detailing, cascading ruffles, and asymmetrical ornamentation, successfully achieving an enigmatic aesthetic.

Benitez and Aquino showcased their fashion prowess flawlessly, each infusing their personal flair into their feminine dresses and skirts. Benitez embraced whimsical designs and a pastel color palette with beautifully constructed floral jacquard brocades, while Aquino elevated her looks with hand-painted leather pieces and her prominently featured white lace dresses.

Albright's designers once again made a striking impression with their runway show, embracing extreme diversity in each one’s vision and approach. This past year's Albright New York Fashion Week marks another commendable achievement for the accomplished designers, dedicated staff, and the unwavering support of President Fetrow and the fashion professors. With a vibrant community of talented individuals, passionate professors, and enthusiastic students, Albright College remains a beacon of creativity and excellence on the fashion stage of New York City for the third year in a row.

3 3 Pancu ’25 getting ready to view Albright's NYFW Show.

Alexandra

Photo courtesy of Alexandra Pancu '25

Campus Highlights

NYFW Designer Spotlight

By Katelyn Schweitzer '25

Burton is known for her love of art and fashion. Her brand, Jasmin Nasha, was first introduced in two fashion show productions. The inspiration for her NYFW collection stemmed from photographs of her late grandmother and designs

by Stephen Burrows from the 1970s. The model wears a lavender bandeau swim top featuring a ruffled angel sleeve detail paired with a high waisted retro bottom.

Valentine’s collection, “Black Femme,” is a celebration and homage to his designs as a black fashion designer, while also nodding to the Black Lives Matter Movement. He is a current senior pursuing a degree in fashion design who has showcased multiple garments in past Club Vogue fashion shows and won the award for Best Individual Design at the annual Albright Fashion Department Showcase. Valentine’s most well-known design is a black holographic, plaid taffeta, and hot pink taffeta asymmetrical ball gown.

This Benitez look included a yellow jacquard floral blouse with a matching dirndl skirt, which encapsulates the floral dreaminess of the entire collection. Benitez graduated with a degree in costume design, which informs the work she has done with the Philadelphia theater, designing costumes for opera, ballet, and even TV!

Kedge, a recent Albright grad, majored in fashion design. His collection for NYFW was titled, “Disintegration,” where his color story and silhouettes were inspired by photographer Mia-Jane Harris and her portfolio labeled, “Beautiful Corpse.”

When creating his designs, he applied traditional patternmaking and handdraping skills to portray his garments “breaking down and becoming more organic.” These elements were exhibited in his short dress, adorned with cut-out details and cascading ruffles, strutting down the runway.

Diaz graduated Albright with a bachelors in fashion design. He has worked for designer brands, one of which is Anna Sui, and his garments consist of vibrant colors, printed tropical patterns, and flared/ruffled silhouettes. Diaz’s collection opened the show featuring a floral pleatedneck tank top paired with terracotta pleated wide leg trousers.

Aquino had studied abroad in Taiwan before attending Albright. After transferring, she pursued a degree majoring in fashion design and merchandising. Aquino’s inspiration for her NYFW collection originated from Harajuku Street fashion, couture runway shows, and experimental fashion. One design portrayed handpainted detailing on a sleeveless bustier maxi-dress.

Albright NYFW, photos by John Pankratz Ph.D.

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A n A C R E A D ay …

By Stephanie Hegedus '23

It’s a strangely sunny fall day when I get the chance to catch up with Caroline Parker and Emily Johnson about their experiences conducting ACRE research projects within Albright’s fashion department; it comes as a very welcome reprieve after a week of seemingly endless downpouring rain.

To passersby, we must look like friends catching up on inside jokes between classes, not discussing the interesting research that took months on end to develop. There are many upsides to completing your undergraduate degree at a small school, and here is one of them: when peers (who are likely also your friends) spend time learning about something incredibly niche, you’ll get the inside scoop, and, in turn, become a more well-versed person.

They each fielded the question, “What exactly did you research?” with grace, eager to share what they had spent the better part of three months executing. Johnson’s ACRE was built around current Iranian protests happening in relation to the wearing of hijabs, through the lens of women’s rights 5

in history. “Professor Oh-Ranck and I wanted to bring a new perspective - the protests are happening right now, and there isn’t a lot of coverage or research done on them yet.”

And while the focus of her research was on these womenled protests, she found an interesting connection with punk rebellion culture. Both have anti-authoritarian, antimarshal, DIY aesthetics, which was a surprising revelation.

Johnson, who expresses a love for punk fashion and culture in her everyday personal style admits, “I wasn’t even going to base my project on punk culture - I was just researching the protests when I realized the beliefs both groups have are similar in several ways.”

This led to the creation of a garment, crafted with couture sewing techniques, that embodied the rebellion of the women protesting in Iran, and the aesthetics of punk culture.

“I want people to know that the protests I covered are not only happening in Iran - it’s a global issue. I wasn’t really seeing anything about it on campus or anywhere else besides

FASHION LION • THE ALBRIGHT COLLEGE FASHION DEPARTMENT MAGA ZINE

Campus Highlights

…

a few feminist accounts I follow on Instagram, so making the garment was a way to bring awareness to Albright.”

Her hope is that people who see the garment on display in Alumni Hall will wonder what it means and be intrigued enough to read the information she has compiled in posters to gain something from the experience.

Similar to Johnson’s research, Parker’s ACRE project was also based on an ongoing current issue in the fashion world: sustainability. She, assisted by Albright fashion professor Elizabeth Quinn and University of Delaware professor Kelly Cobb, created new textiles from pre-consumer waste through a number of innovative methods.

If it all sounds a little over your head, don’t worry – I'll break it down for you. Pre-consumer textile waste is any kind of material that was discarded during the production process. Parker utilized these materials to experiment with crocheting, felting, weaving, and top-stitching to create new textiles with potential. The pre-consumer waste was provided by a recycling non-profit organization called FabScrap, which works with companies like Urban Outfitters and Anthropologie to keep textile waste out of landfills. “They basically just gave [the materials] to us.

Because they have such an overwhelming amount, they just said, ‘Please do something with this’.”

Parker, who has an affinity for promoting second hand buying and selling, is passionate about working with the textiles that have already been produced. “There is just so much that already exists,” she sighs, referring to the endless unused textiles produced by the fashion industry that are destined for already full landfills. “We don’t have to keep producing and producing new things all the time.”

Both ACRES took time and dedication - Johnson talks of the sheer effort it takes to sew a garment of couture quality from start to finish wearily, mentioning that the work was “all day, every day” to meet her own expectations. Parker nods the whole way through in agreement; “I second that!

Making textiles is the same, and what I created wasn’t even the final product.” She pauses before adding, “It’s so important, though, to show people why sustainable fashion is so expensive; it takes so much experimentation to get it right, especially when what you’re making is interesting.”

When asked about their projects in relation to the rest of their undergraduate study and beyond, they erupt into laughter - this question of, “What are you doing post-grad?” follows seniors around ceaselessly. Parker relinquishes that she’s looking at an internship with a consignment store, adding, “I’m interested in the concept of selling second hand and learning about running a Photo by John Pankratz Ph.D.

business.” She also talks about wanting to invest in the idea of creator spotlights that highlight designers who are making garments from scraps. Given that her favorite aspect of her ACRE was playing with the process of creating from scrap materials and ending up with a finished textile that can be used and enjoyed, it’s easy to understand her enthusiasm.

Johnson’s interest lies in pursuing a career in fashion journalism. “A lot of the time I enjoy analyzing specific trends and what they mean so I think looking at the hijab and looking at punk aesthetics gave me a chance to apply those journalistic skills, like finding what fashion means in a social and political context.”

The pair of students express excitement that their work has come to a close, given the amount of time, energy, and hands-on labor that went into their research, but emphasize how worthwhile the process was.

So what can they offer as final thoughts on their ACRE projects? Parker smiles gleefully, and says quite simply, “Stop buying fast fashion!”

Johnson nods, then thoughtfully adds, “Anyone who has a specific interest for a project should try to do an ACREthe learning you do can really take you places.”

"ACRES take time

and dedication, but the learning can really take you places"

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The Study Abroad

By Ciarra Thompson '25

Amsterdam and Paris

As the first person in my family to travel abroad, I placed a lot of expectations on myself. I felt like I had to capture every single moment just so that my family could experience this opportunity with me.

However, after a long seven-hour flight of gazing out the window and seeing the beautiful open lands and water in Amsterdam, I decided to live in the moment. I realized how important it was to embrace this opportunity to elevate my studies as a student and aspiring fashion designer.

Through this amazing experience at Albright, I learned to keep an open mind and appreciate different cultures, even if I lack understanding.

Traveling also helped me become more confident and gain cultural awareness through interactions with people and visits to new places.

The first city where we began our journey was Amsterdam, Netherlands. I enjoyed this destination the most because it was calmer than Paris.

The Dutch capital, which is 700 years olds, is a relaxed, family-friendly place where tourists can visit historical attractions and modern art. Compared to most cities, Amsterdam has the most inventive train systems; the trains run on land because it would be difficult to build anything underground on an island. It was surprising to see that the city has very little traffic, due to locals riding their bikes or using the Amsterdam Metro.

We visited some of the key landmarks in Amsterdam, starting with Dam Square. Built in 1956, the National Monument stands tall in the middle of the square, honoring the victims of World War II. The Homomonument, which is also located in the center of the city, is a statue that honors LGBTQ

John Pankratz

Diaries:

individuals who were persecuted by the Nazis for their sexual orientation.

Another historical site we visited was the Anne Frank house. The museum showcased much of her family’s history, including photographs and artifacts, and most importantly, Frank’s diary. Overall, I enjoyed learning about her story and seeing it with my own eyes; it gave me a better perspective on her life and the struggles of WWII. For the second half of the trip, we traveled to Paris, France, a city that reminded me of New York because of its hustle and bustle. The difference is that the river runs through the city, making it easy to find a calm place to escape the noise. My favorite place in Paris was the Louvre, as it boasts an extensive collection of artwork from different cultures and eras. My favorite painting there was the Mona Lisa, although it was difficult to get a close look due to its popularity. The Eiffel Tower was next– it is much bigger than what it appears online. We also saw a few Cathedrals: Notre Dame and Sacre-Coeur.

The sites that inspired me the most creatively were Versailles and the Dior Museum. After experiencing the rich art history in Paris, I realized the city's passion for refinement, quality, and luxury is passed down through generations and has become a way of life. As a fashion design student, I hope to implement these qualities into my own work.

When I returned home, I was excited to share my stories with the people I love. This opportunity changed my life and understanding of European culture, lifestyle, and art. Creating these memories has inspired me to share my experience through my creativity and design work as a student and beyond.

From Fashion Student to

Fashion Professor: Kylah Freeman

By Irma Fourrien '26

time at Jefferson. I went for a ten-day trip across China and Hong Kong and was able to see the industry outside of the US. [It] was wonderful to get an understanding of the interconnectedness of the fashion industry and what takes place in the borders beyond our United States.

Q: What made you decide to become a fashion professor?

A: As I mentioned, pursuing teaching was never part of my original plan. I thought if I were to ever teach that it would be in my retirement years after completing a long career in fashion design. But I had the lovely opportunity to get into teaching and learn about more of the academia-side of fashion in my master’s degree. And then of course, I was encouraged by many individuals in my personal life as well as professionally, like professors from Albright and Jefferson.

Once I had thought about the process, I realized that I really love working and engaging with students. I’m very passionate about watching my students learn and encouraging and empowering them to be lifelong learners. That’s what drew me to the idea that I wanted teaching to be more than just something that I do in my retirement. I wanted it to be something that would become a lifelong career.

Photo courtesy of Kylah Freeman

Since graduating from Albright College in 2016 with a B.A. in fashion design, Kylah Freeman has maintained a close relationship with the institution. After completing her M.S. in Global Fashion Enterprise at Thomas Jefferson University, and currently pursuing a Ph.D. in apparel, merchandising, and design from Iowa State University, she serves as a Visiting Assistant Professor for the Albright fashion department. Returning to Albright, she wants to give back to her community by teaching and encouraging students to grow.

Q: Before you taught at Albright, what were you previously doing?

A: [At Jefferson,] I started my master’s degree in Global Fashion Enterprise in 2018. The program has since been renamed Fashion Merchandising and Management to align with their undergraduate program, but when I was attending, it was the Global Fashion Enterprise Program.

For my last year, from 2019 to 2020, I was awarded a Graduate Assistantship to work with Dr. Juliana Guglielmi. She was instrumental in encouraging me to move forward with a Ph.D. [She allowed] me to work with her on the research that she was conducting, assist with some of her teaching responsibilities, including grading students’ work or coming up with assignments.

It really allowed me to see what academia could look like from a fashion perspective.

I also had the wonderful opportunity to travel abroad during my Campus Highlights

Q: What do you hope for students to learn, accomplish, or gain before graduating?

A: When I think about my teaching with my students, I often think of myself simply as a facilitator in my courses. I am simply there to encourage them to learn. I really strive to create a positive and supportive environment that encourages collaboration, discussion, and hands-on learning. I want my students to ultimately come out of my classes being critical thinkers and lifelong learners. No matter what course I teach, I always strive to make sure that my students are developing their critical thinking skills, and the hands-on skills necessary to enter into the industry, and that they leave my courses feeling empowered to pursue whatever career path they may choose. Perhaps even one they had not previously considered – just like I did.

Q: Is there anything you want to build into the foundation at Albright? Or add to the culture of the fashion department?

A: I think the fashion department has done a wonderful job; I’ve really seen it evolve, especially for design students. I think it’s wonderful that they have the opportunity to pursue showing their collections at New York Fashion Week...I would love to see opportunities grow for merchandising students, as well. I would love to be able to find ways to further engage merchandising students in global competitions and have that same experience that design students have with NYFW. No matter if it’s design or merchandising students, I’m always seeking to engage the students with the industry. So, bringing industry speakers to campus, being able to take [students] out into the industry on trips... I think it’s helpful for students to be able to see what they’re learning really does translate to the industry.

FASHION LION • THE ALBRIGHT COLLEGE FASHION DEPARTMENT MAGA ZINE

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The Evolution of Concert Attire

By Isabella Razzano '25

Even if you aren’t an avid concert goer and have only been to maybe one or two recently, you most likely have noticed the change in how people dress to go to concerts. Before the pandemic, most concert attendees would dress casually or maybe in ironic outfits, like a banana or watermelon suit at many of the Harry Styles shows. But, recently, ever since concerts resumed post-lockdown, I’ve noticed more and more people dressing up for their shows and planning their outfits months ahead.

Of course, a very big con to this change in dress is overconsumption.

Many people buy new clothes for concerts without considering whether they will wear them again. Essentially, individuals purchase something to wear once, and then either throw it out or donate it to Goodwill, where it will inevitably land in a dump due to the extreme amount of daily donations.

If you’re wondering how to not over consume, a good practice to adopt when planning an outfit or buying something for a specific event, like a concert, is to ask yourself if it’s something you’ll wear again. Additionally, consider utilizing items you already own to limit how many new items you are purchasing. In general, if you can’t picture yourself wearing the outfit again, it’s probably best to choose something else.

Some of the ways I’ve tried to sustainably shop for concert outfits is to buy garments secondhand through thrift stores or online resale sites like Depop and Mercari (which, by the way, are my favorite ways to buy and look for specific pieces secondhand). I also like to DIY items by cutting or tie-dying them and making my own pieces by crocheting them! If I’m looking to save time or money, I try style new outfit combinations with items I already own!

Seeing people’s personalities shine through their outfits, whether that be on social media or in person, is a very cool and interesting trend for many! It can help people open up and be more comfortable wearing what they want, knowing they probably won’t see many, if any, of the other people at the show wearing the same thing. Hopefully, after reading this article, you’ll feel inspired to practice mindfulness when styling your next concert fit!

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Photos by Stephanie Hegedus '23, Emily Johnson '24, Isabella Razzano '25

Fashion

Luxury Brands Are Looking for

A-T-T-E-N-T-I-O-N (With the Help of K-pop Idols)

By Sangyeun Ahn & Sunwoo Hahm Why do lots of luxury fashion brands from France, Italy, and the United States choose K-pop stars as brand ambassadors?

What competitive edge do they bring? People cannot ignore the popularity of K-pop artists these days. With huge, loyal fandoms, the groups are highly supported from A to Z; such is the case with “Army” which is the fandom of K-pop idol group BTS.

Moreover, when K-pop stars make appearances at fashion weeks, it creates headlines worldwide! According to research by Launchmetrics, a digital media influencer analysis company, the collaboration between Kim Kardashian and Dolce & Gabbana in September of the previous year had a notable, combined impact.

This impact resulted in a value of $4.6 million, specifically in terms of headlines and online visibility. In the same season, during the Dior show in Paris, BLACKPINK's Jisoo generated a significant buzz estimated at $7 million. Just these stats alone show that luxury brands cannot ignore the allure of K-pop stars and what they can do for their brand image.

through their fashion choices. They may wear androgynous clothing, encouraging discussions about gender-neutral fashion and breaking down stereotypes. This includes items like oversized blazers, baggy pants, and shirts that can be worn by artists of any gender. For instance, Jimin from BTS often breaks the border between masculine and feminine styles. With the ongoing global trend of unisex fashion, K-pop artists will undeniably be on our radar.

In addition to androgynous looks, Korean artists are similarly known for wearing unique and attention-grabbing outfits that incorporate bold colors, unconventional patterns, and avantgarde designs. These outfits are often worn during music video shoots, stage performances, and promotional events. Jang Wonyoung from the group IVE is a prime example of this trend, serving as an ambassador for Miu Miu and recently seen adorned in the brand’s core look: a cable knit crop top and ultra-low rise jeans.

One K-pop star that became synonymous with style is Hyunjin, a member of the internationally known group Stray Kids. After his appearance at “La Vacanza,” a cruise collection designed

by Donatella Versace and Dua Lipa in May 2023, Hyunjin received significant attention on social media. In July 2023, he was appointed as a global ambassador for the formidable fashion house. According to Versace’s official Instagram, Donatella Versace expressed her delight at the “S-Class” vocalist joining the brand, stating that “he is a true Versace man.”

Often, K-pop fashion incorporates elements from various cultures, making it inclusive and appealing to a diverse global audience. This fusion of styles from different regions contributes to the multicultural appeal of K-pop. Jennie, a member of BLACKPINK, sported a fusion-style crop top at an Osaka concert, which was designed by Miss Sohee and was customized with a Korean traditional folk painting. This style is the result of a collaboration between culture and contemporary styles of clothes.

Hyunjin isn’t the only K-pop brand ambassador, though. Some other artists include: Jennie from BLACKPINK for Chanel, Jisoo from BLACKPINK for Dior and Cartier, Hanni from NewJeans for Gucci, Kim Taehyung from BTS for Celine, Rosé from BLACKPINK for Saint Laurent, and Lisa from BLACKPINK for Bulgari.

Some K-pop stars also challenge traditional gender norms

With the ever-evolving landscape of trends and influencers, fashion houses should continue to appoint K-pop idols as the faces of their brands. As inclusivity and celebrating style from different perspectives are at the forefront of the fashion industry today, these luxury brands can not only create a global appeal but gain the support of these pop stars' fandoms.

FA S H I O N L I O N • T H E A L B R I G H T C O L L E G E FA S H I O N D E PA R T M E N T N E W S L E T T E R Photos by Kiara Cruz '25 Model: Alexandra Pancu '25 Styling: Emily Johnson '24

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Red, White, and New – The Evolution of the Women’s National Soccer Uniform

By Laurel Gingrich '24

The U.S. Women’s National Soccer Team has gained recognition for their fight for equal pay, and through their hard-earned successes in the World Cup. However, the team was not always recognized and supported. Through the years, starting with the first National Team in 1985 to now, 2024, a shift in support for the team can be seen through the development of their uniforms and gear availability. In 1985, the U.S. recruited soccer athletes from around the country to form the first Women’s National Soccer Team. This team traveled to Italy to compete in, what they called the “little World Cup.” This was the first tournament the team appeared in, and it was not until 1991 when the tournament was recognized and sponsored by FIFA. The uniforms the USWNT wore from 1985 to 2024 would undergo a massive transformation. Athletes and sports fans today recognize the importance of how uniforms help players compete and improve confidence. However, this has become a central focal point after years of testing, fitting and evolving designs to better equip them with sports focused technology.

For the first tournament in 1985, the USWNT uniforms were hand-me-downs originally made for and worn by men. Alterations were completed to these uniforms just nights prior to the tournament to make them wearable. These all-white uniforms lacked numbers on the front of the jersey and sported a USA logo on the left chest. There were red stripes that began at the side of the jersey and continued down the side of the baggy shorts. Although they did not win the tournament, this was just the beginning of the team and the evolution of their success and uniforms followed.

The U.S. Women’s National Team went on to win four FIFA sponsored World Cups in 1991, 1999, 2015, and 2019. The uniforms in the first official World Cup in 1991 were designed by Adidas. The team sported baggy uniforms with jersey sleeves reaching the elbow and shorts reaching mid-thigh. The simple design incorporated the player’s numbers on the front of the jersey and on the leg of the shorts. These uniforms reflected the fashion styles of the decade, with the notorious 90’s baggy silhouette. Women’s teams around the world complained about the lack of apparel and gear they received, and the lack of women’s sizes available. The uniforms in 1999 still sported a similar baggy style without much change to the jersey design.

Substantial changes to the design and fit came in 2015. The uniforms had distinctive features specifically catered toward women.

Nike was the official sponsor of the 2015 USWNT, they designed the athletes' uniforms with functionality and sustainability in mind. The neckline was designed to be big enough to allow it to comfortably go over a ponytail or bun. Nike also strove to create a more equal selection for female athletes by including all four designs of their cleats for the first time. The fabric for the jerseys were made from recycled plastic water bottles – roughly 18 bottles were recycled to make the fabric for each uniform. The jerseys and shorts featured Nike DRI-FIT fabric designed to pull sweat away from the body and evaporate more quickly. The jerseys were designed to keep players cool with mesh paneling to allow for ventilation. Home uniforms were all white with a black stripe down the side continuing to the shorts – a similar design to the 1985 uniforms.

Uniforms play a significant role in how athletes perform. Having comfortable and stylish uniforms gives the players confidence to compete well. Designing gear for the female athlete has taken time to perfect and innovations by Nike have improved the overall quality of the USWNT uniforms. Although the colors of their uniforms will remain red, white, and blue, the USWNT will continue to play in style and comfort for years to come.

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John Pankratz

Fashion

FASHION LION • THE ALBRIGHT COLLEGE FASHION DEPARTMENT MAGA ZINE

Illustrations by Neysa Martinez

Jumping to the present, the USWNT debuted a uniquely new home uniform for the 2023 season. It sported a paint splash design on an all-white uniform, which, according to U.S. Soccer, highlighted “the energy of USWNT and how they are diverse players and personalities, but always united." Every jersey is unique in that the paint splashes are different on each uniform. The designs

by Nike focus on increased mobility, ventilation, and helping athletes stay comfortable while playing. They added a new panel to increase stretch and breathability. The DRI-FIT ADV Technology is an improvement on the Nike DRI-FIT fabric used in 2015.

This new fabric provides athletes with increased breathability and mobility. Athletes were also provided with more options, like different necklines, so that each player could choose a more personalized design.

From Soccer to Sambas:

How Adidas Continues to Prevail with Simplicity

By Laurel Gingrich '24 Do you remember walking into middle school one day and suddenly everyone was wearing Adidas? It seemed as though overnight, their popularity seeped into the minds of middle schoolers, taking over one classroom at a time.

However, Adidas has been around for decades. With its German roots, Adidas established the company’s first success in 1954 when the German National Team won The World Cup. Adidas brags about this success on its website, stating how the team wore Adidas boots (cleats) with the first of screw-in studs to help them defeat the previously unbeatable Hungarians. The company grew its brand and success through sportswear and shoes, closely working with athletes in the 1970s to improve their designs and performance. This was also a historic time for the brand as it introduced its new Trefoil logo in 1972, becoming a trademark for the company ever since.

Soccer boots were only the beginning for the brand, as they moved into pop culture and the fashion industry using music as a segue. Run D.M.C. released a song in 1986 called, "My Adidas,” celebrating the pride and enthusiasm hard-working individuals in tough neighborhoods had for their sneakers, particularly Adidas. Adidas says this sparked a collaboration with Run D.M.C. and the brand, thus initiating the promotion of athletic and sports brands in the fashion and streetwear industry.

Since then, Adidas has collaborated with different celebrities and fashion brands to market their lifestyle and fashion lines. Adidas exhibited one of these collaborations on their website with Gucci in 2022. The collection made its debut at Milan Fashion Week, where a mix of the iconic Trefoil and Gucci logos in vibrant color combinations graced the runway.

Arguably, one of Adidas’ most recognizable and popular shoe models is the Samba: minimalist in shape, with contrasting suede accents and a trademark three stripe side detail. In fact, the shoe has its own section on the brand’s website dedicated to its history. It states that the Samba was launched in 1950 and designed for icy and snowy conditions. The design had good traction with three cut-out suction cups in the sole of the shoe. Over the years, Adidas altered the model, with significant changes in 1972 to create the style we know and love today. The sneaker still has the same qualities that made it a success in 1950, maintaining great traction for winter conditions. Adidas has also relaunched and created similar designs such as the Gazelle to add to their repertoire of shoe models.

Today, the Samba has made headway in the fashion and streetwear scene, thanks to celebrities, models, and influencers.

Vogue has observed Bella and Gigi Hadid, Hailey Bieber, Emily Ratajkowski, and Kaia Gerber all wearing Sambas. These trendsetters dress them up or down, pairing them with sporty sets or luxury brands items, furthering Samba’s legitimacy in the fashion industry.

The iconic shoe has proven to be a timeless option for soccer players and in the fashion world. The Samba has been used as a soccer shoe for 74 years, and popular in the fashion world for 42 years, proving it can withstand the ever-changing styles and trends. Not only are these shoes timeless, but they are the perfect practical everyday shoe. Today, people look to practicality, which is why stylish sneakers like those created by Adidas are becoming even more popularized in streetwear.

Photos by Kiara Cruz '25 Models: Stephanie Hegedus '23, Emily Johnson '24, Caroline Parker '24

12

The Fall of

Personal Style in a Hyper-Individualistic Era

When

By Emily Johnson '24

analyzing

today’s

fashion

and

beauty

industries,

micro

has

become

macro.

Micro-trends are only popular for a couple of weeks, just days if they are too niche, and are typically propelled by influencers on social media platforms like TikTok and Instagram.

Even though these fads are detrimental to Mother Nature and consumer’s wallets, users pine for the latest Skims dress dupes and perfect shades of “cherry cola” lipstick, craving to satiate the desire of recreating their favorite influencer’s outfits and skincare routines.

Recently, it seems like we are suffocated by “-core” this and “girl” that. We are infatuated with fulfilling an aesthetic dependent on others and the pursuit of individuality has (ironically) taken a backseat.

Having been spoon-fed the belief that identity and being different are necessary to succeed from a very young age, we all see our doppelgangers in classrooms and on the tiny squares of Instagram feeds. We all slather on the same NYX Butter Gloss lip gloss, clip in the same dainty and delicate ballerina bows in our hair, and (painfully) zip up the latest (and tallest) Steve Madden boots all in the name of fashion.

We are the carbon copy of our coworkers, content creators, and classmates. And the more we try to squeeze ourselves into the tiny confinements of micro-trends to rebel against the mainstream, the more we blend in and look like everyone else partaking in the lifestyle. In a sea of “office siren” Gen-Zers and “mob wife” posers, we must question why we lust over greyscale professional pencil skirts and oversized faux fur coats, respectively. Do we actually like the garment, or are we only wearing it because a friend of a friend of a friend wore it on social media? Does it even look like something we would normally wear? Or essentially – will we wear it more than once?

If sitting next to your doppelganger during an exam isn’t enough, take a couple seconds to think about your environmental impact. When hitting the enticing “add to cart” toggle on another influencer’s Amazon Storefront, we unconsciously (or consciously…) contribute to the relentless trend cycles.

Opting for clothing from Zara or Shein over durable alternatives (usually found at the thrift) increases the use of non-biodegradable synthetic fibers, water and air pollution, the accumulation of waste and financial strain. According to Public Research Interest Groups (PRIG), the fast fashion industry is responsible for 20% of global water waste and 10% of global carbon emissions.

Also, as reported by National Geographic, Chile’s Atacama Desert is home to discarded fast fashion garments – a landfill so big that it’s visible from space. But nonetheless, people would rather be perceived as “stylish” and “on trend” to their friends and followers on social media.

As trends come and go, we need to become more conscious and confident of our own personal style for the long term. Otherwise, we will continue to feed into the short-lived instant gratification of purchasing new products pushed by influencers, many of which never see the light of day. These garments are forever trapped in the 9:16 ratio prison that is TikTok videos.

Desiring acceptance in society is nothing new; however, we must acknowledge the deeper meaning of this micro-trend madness – we have lost ourselves. For centuries, fashion has been a vehicle for expression and activism. Without it, distinguishing social groups, cultures, and iconic figures would be difficult. And if we all look the same, we lose that important trait of fashion. By simply recognizing why you like certain characteristics of clothing, you not only promote sustainable fashion but also develop your sense of self.

13

In a society that encourages individuality, why be bound to the shackles of overrated and toxic fast fashion trends, when you can take the time to analyze your style and hunt for unique garments that scream “you?”

Fashion

FASHION LION • THE ALBRIGHT COLLEGE FASHION DEPARTMENT MAGA ZINE

In a world full of blueberry milk nails, cinnamon cookie butter hair, and mob wives, how will you be different?

By Isabella Razzano '25 Believe it or not, the fall of brick-and-mortar stores began pre-pandemic. However, online shopping during lockdown exacerbated the decline of in-person retail. While physical storefronts are still recovering, researchers from Shopify, Retail Minded, and Alcon Lighting are now seeing a change.

Recent trend forecasts indicate that consumers are no longer as interested in the characteristics that originally drew them to online shopping, like being in the comfort of their own homes. Retail Minded notes that features like “buy online and pick up in store” have pushed shoppers back to retail spaces. Post-pandemic, consumers find online shopping challenging and seek in-store ease like same-day pickup and easy returns. As David Hakimi from Alcon Lighting points out, physical storefronts also allow consumers to try on or test products before purchasing, minimizing time spent returning or exchanging items bought online.

Additionally, there are positive environmental aspects that stem from the return of brick-and-mortar. Minimizing the waste created from shipping, returning, and exchanging products helps lessen our carbon footprint, according to Hakimi.

Often, products returned are immediately marked as damaged and disposed of, whether or not they are damaged or ever worn.

The growth of online shopping during the pandemic has caused consumers to miss features that are unavailable online. Brick-and-mortar offers a more personalized connection, such as asking sales associates for recommendations while shopping. While online, the “helpful” options like live chat cannot offer that same personability. As Retail Minded states, these agents often lack hands-on experience with actual products, given that their jobs are entirely remote.

Despite technological advancements, trying items in-store before buying beats online shopping. Consumers can gauge the product’s fit and the texture of the fabric. For example, many people consider their color season when purchasing clothing; TikTok alone has over 30 million videos regarding personal color analysis.

Not to mention, physical shopping enables more immersive shopping through events like pop-up stores and interactive experiences. Some of these experiences include receiving personal shopping recommendations from sales associates, finding styling inspiration from mannequins and window displays, and hearing music being played in-store. Interior design that is specific to the company also allows consumers to feel more connected to a brand’s image. A couple of companies that provide a great customer experience through these aesthetics include Hot Topic, Ron Jon Surf Shop, and Vans. Specifically, Hot Topic features dark and dim lighting, alternative music, and décor reflecting its brand’s alternative style.

Th

eD

eat

ho

fO

nli

ne

Sh

Never. BUT...

Aspects of online shopping that were previously viewed as convenient during lockdown have now become unenjoyable in consumers’ shopping experiences.

Shoppers want a more hands-on and personable feel that fails to be found online.

This experience, which is only possible with brick-and-mortar stores, should be curated and experimented with by retailers to truly bring in-person shopping back in style.

opp

ing

?

FASHION LION • THE ALBRIGHT COLLEGE FASHION DEPARTMENT NEWSLE T TER Photo by Emily Johnson '24 Models: Elyssa Cheesman '24, Donia Shalal '24, Styling: Tiaja Money '24

We Are What We Wear So Why Aren't We Dressing for a Crisis?

By Stephanie Hegedus '23 The global state of the world– particularly that of the economy– is an interesting topic of conversation, and perhaps even more importantly, an interesting part of life. This is, in part, because of how ambiguous it can be. Who gets to decide how bad things really are?

In technicality, there is no recession- just ask your nearest finance guru. But if you ask someone off the street, you might get a different answer: According to a Bankrate survey in December 2023, nearly three out of five people (59%) expressed feeling that the U.S. economy was in a recession.

It doesn’t take a genius to put together the leading drivers of this thought train- the price of groceries continues to rise exorbitantly, rent in major metropolises is out of reach for many, and the impressive resumes, educations, and skills of people looking for jobs aren’t necessarily enough to be hired. Now add in the unthinkable horrors still happening in Gaza, the ongoing climate crisis, and the lingering PTSD of a pandemic not that far in our rearview mirror, and Billy Joel would have plenty of material for a new, albeit more depressing, rendition of “We Didn’t Start the Fire.”

What, you might be wondering, does this have to do with fashion? Everything, dear reader.

In 2010, research prompted serious discussion about a phenomenon that many have speculated on: the Hemline Index. According to this theory, in times of economic and social downturn the hemlines of skirts fall too, bringing into vogue ankle skimming styles. When the inverse occurs–the economy and general mood are strong– mini skirts dominate, alongside other more quote-unquote provocative trends like the use of sheer fabrics.

To clarify, if the Hemline Index were still true, wouldn’t we be 15

Fashion

seeking something akin to Dior’s New Look, with its long, full skirts? Somewhere along the way, we must have strayed from whatever cosmic guidance kept us aligned with it. Chalk it up to the freedom of experimentation fashion lovers enjoy more every day, or to the popularity of pursuing personal style- either way, today’s fastest growing trends are far from conservative.

Take, for instance, a month of Fashion Week runways that have been dotted with see-through garments. This is a visual representation of fashion search engine Tagwalk’s estimation that sheer outfits have increased 40 percent across the twenty biggest brands between 2023 and 2024.

Consider John Galliano’s earth-shattering Margiela show that celebrated the female form; Simone Rocha’s memorable debut at John Paul Gaultier that was marked by Kylie Jenner’s attendance in barely-there couture; and the flowing tops from Chloé, to name a few.

Comparably, the infiltration of sport in fashion brings with it staying power for the mini skirt, or more specifically, the tennis skirt. The length of this particular style is the key to its relevance with the Hemline Index; it acts as another provocative trend that proves we no longer adhere to historical dressing patterns.

All of this, in some part, is thanks to a recent Vogue cover for the American phenom Coco Gauff, and the promotion of Luca Guadagnino’s sport romance starring Zendaya, Challengers.

The film’s press tour, and the success of its carpet looks, are set to only spark the sporty trend further.

Whether you indulge in the baring of skin, or not, there’s something to be said for finding your happy medium on the scale of provocative to conservative and sticking to it. Consider this, all you pessimists: if the world is falling apart, wouldn’t you like for it to happen while wearing something you love?

Photo by Emily Johnson '24 Models: Angel Leon '27 Evalina McBride '27 Styling: Tiaja Money '24

From Silly to Sophisticated

How Slingback Shoes Infilitrated the Runway

By Stephanie Hegedus '23

If you know anything about fashion, you’d understand that the potential for creativity is infinite. Now, more than ever, there’s an ever-growing sense of freedom when it comes to outdated boundaries that govern clothes, and it has everything to do with the speed in which trends spread. When the masses are that eager to discover what will change the game ahead, the craze might come from where you least expect.

Enter Crocs. A controversial shoe, to say the least: they are often regarded as ugly, or worse, unstylish, but most often, in appearance only. Functionally, they’re a lauded design: slip-resistant, washable, lightweight, and easy to slide on the foot. This makes them especially ideal for people who work in healthcare, are limited in mobility or flexibility, or simply need a little more ease in their life.

The brand and their namesake shoes came to be in the year 2002, and throughout their history have gone in and out of favor with consumers; even landing on TIME Magazine’s list of the “Top 50 Worst Inventions in 2010.” Despite this, the slingbacks started rising to a higher level of popularity than ever in the last five years, much in part due to sporadic collaborations and partnerships with designers and celebrities that reflect the zeitgeist and connect with younger markets.

This revival of Crocs, then, comes at a perfect time to coincide with the return of slingback heels on fashion week runways. Slingback heels have long been considered the epitome of femininity in the form of a sandal, but are also specifically connected to the 1940s and 1950s, giving them a classy but somewhat outdated look.

Enter Crocs again. Surprised? You shouldn’t be.

The rubber style, according to Simone Rocha’s most recent runway, is the picturesque ideal way to incorporate slingbacks into your looks without it feeling overly old. Platformed, and dripping in embellishments like pearls and Photo by Kiara Cruz '25 studs, there is something so refreshing about the way they finish Model: Isabella Razzano '25 a high-end look. It’s a new way to reinterpret the classic slingback, and admittedly, in great company with other iterations. There’s the Ganni buckle flats and the Miu Miu kitten heels, both equally tapping into the ultra-femme mood Barbie left us in, all while staying aligned with an appreciation for a slingback.

Crocs (and the many dupes that borrow their likeness), however, remain at the top of our minds. And perhaps, their fifteen seconds of high fashion fame with Simone Rocha acts as a harbinger of ugliness becoming ideal again. After all, the original Crocs campaign centered around a simple phrase: “Ugly can be beautiful,” something not so far from the sentiments of Miuccia Prada, who famously said “Ugly is attractive, ugly is exciting. Maybe because it is newer. The investigation of ugliness is, to me, more interesting than the bourgeois idea of beauty.”

How relieving, then, to know that there is still room in fashion for anything- anything- as long as it dares to go where others may not follow. Even when those places might be an outlet store with walls lined in Crocs, of all things.

FASHION LION • THE ALBRIGHT COLLEGE FASHION DEPARTMENT MAGA ZINE

16

and “Keeping Up with the Kardashians." While Jenner is always repping the latest “clean girl” makeup trend, we have to question: what could a model and actress know about creating high-quality makeup and skincare products?

Jenner expresses pride on her website, stating that most of her products are cruelty-free, vegan, gluten-free, and free of parabens and sulfates – aspects highly favored by today’s consumers. As these products are developed, she tests new ingredients to separate her brand from her competitors. Some ingredients worked out well, like the kiwi seed oil.

According to Cavalo, a search platform that connects beauty brands with suppliers and ingredients, “the Omega 3 fatty acids in kiwi seed oil are what make it an effective skincare product, aiding in skin elasticity and hydration.”

Although a 2019 walnut scrub raised concerns because of the effect of its ingredients, many customers are still loyal to Jenner’s brand. This is because fans trust celebrities like Jenner, so the pros of Jenner’s brand outweigh the cons. This trust allows celebrities to succeed in creating a brand from the ground up. They already have the consumer market; they just need a product.

However, quality products aren’t everything; in many cases, what makes consumers buy products is the packaging. And this is true for Kylie Cosmetics. The packaging features a clean and minimalist aesthetic, making it very appealing to today’s young market. Both the packaging and the products themselves contribute to Jenner’s high level of success in her business, increasing her net worth. It doesn’t always matter if the products are good to be successful, but in this case, they are comparable to those of other brands in the beauty and cosmetic industry.

While we’ve seen the success that Kylie Cosmetics has had over the years, will other celebrity brands compare?

By Laurel Gingrich '24

Beyoncé recently launched Cécred this past February. But what does the pop (now country) star know about haircare? Unlike Kylie, Beyoncé has some roots in haircare. Her first job was working for her mom in her hair salon, Headliners Hair Salon. In an interview with The Washington Post, she said, “I saw firsthand how the ways we nurture and celebrate hair can directly impact our souls.”

What Do Celebrities Know About Skincare, Anyways?

With their strong personalities and glamorous lifestyles, celebrities make the perfect influencers. But what about the increase in personal celebrity brands? Today, we’ve seen many stars venture into the beauty industry, creating their own lines, and from there, developing their own brands.

At just 17 years old, American media personality Kylie Jenner launched Kylie Cosmetics with her signature Kylie Lip Kits.

According to & Simple Co., she invested $250,000 of her 17 own money for her brand, which she earned from modeling Culture

This upbringing has had a strong impact on Bey’s desire to create a haircare line. Given that the beauty industry often fails to make Black women feel included, she told The Washington Post, that she wanted to create “a community where women of all races can communicate and share some of those secrets, so we can continue to support and take care of each other.”

On Cécred’s website, Beyoncé states that she has accumulated a lot of knowledge during her own hair care journey over the years, and she wants to create a legacy by sharing this knowledge with others.

Since her brand is still fresh, additional products are bound to join the current lineup over time, keeping fans anxiously waiting to see what she adds next.

While celebrity brands have glitz and glamour and appeal to consumers’ aesthetics, it’s hard to know how much of a role these celebrities have in scientifically creating their products.

Neither Jenner nor Beyoncé’s websites list educational experience or credentials in their respective beauty lines. However, their visions and brand identity speak for themselves, as they have a good foundation of what they want their brand to be.

Photo by Kiara Cruz '25 Model: Elyssa Cheesman '24

13 Going on 30, For Real This Time

roline

By Ca

r Parke

'24

As members of Gen Z grow into adulthood, they are noticing that “kids these days” are not having the same adolescent experience they had. They were the last generation to grow up without having a smartphone by age 10. The new generation of teenagers, known as Gen Alpha, have unlimited access to the internet, meaning they see many influencers online daily, who are usually older than them. Kids can see what the “cool people” are doing on social media; they no longer have to spy on their older sister or go to the mall to see what’s trending. Thanks to platforms like TikTok and Instagram, brands are marketing adult products to much younger audiences at a higher rate than before.

The epidemic sweeping the internet at the moment is “Sephora Kids.” This trend depicts poorly behaving 10-year-olds wearing Lululemon and begging for women’s beauty products, like a $72 Tatcha face cream or $49 Drunk Elephant serum. Children using wrinkle-smoothing creams and retinol is dystopian to say the least, but these kids are not at fault. These tweens want to be older faster because the market doesn’t offer anything made for their age group.

Those who are quick to hate “Sephora Kids” are ignoring a key factor to their behavior: adults established a culture where children, especially young girls, are encouraged to act and look above their age. In an interview with HighSnobiety, Dr. Kate Phelps explained that, “A girl is both a product of and a producer of trend, culture, and society… Beauty is important to how girls move through the world, especially in a hypervisible, consumptive society. Girls place value on it, but we’ve also laid bare those foundations for them.” It’s important for adults to critically analyze kids' behavior and visualize how they see the world around them before mocking them.

Ultimately, young girls are striving for that perfect expensive skincare routine because they see adults using it online and crave a sense of maturity. Some argue that tweens have always acted older than their age, often stealing their mother’s makeup or heels, and that social media has just brought more attention to this behavior. While the concept of up-aging has always existed, social media is responsible for exposing Gen Alphas to millions of adult influencers, instead of just a few family members or friends.

Currently, tweens and teenagers are shopping like adults because there is no alternative. In the 1990s and 2000s, kids would spend their free time at the mall with their friends, shopping at stores like Justice, P.S. by Aeropostale, Wet Seal, Claire’s, and Delia’s. Now that online shopping is the new norm, and the revival of brick-and-mortar stores is only slowly increasing, tweenspecific brands are struggling to exist. Because of this, Gen Alphas have grown up without experiencing the traditional mall hangouts and the stores that targeted their age group.

As social media and clothing trends have evolved, tweens are no longer being catered to; their fashion world has been blurred into a large “young adult” category. This raises the question: Will tween fashion eventually die out altogether? Middle school-aged girls don’t want to shop in the kids section because it’s deemed incredibly uncool, so they are immediately placed into the women’s section. This gap in the market is poorly handled by retailers, making the action of figuring out a style extremely difficult.

While it’s unfortunate that today’s 10-year-olds will never experience walking into Justice and seeing overly bedazzled tank tops and skirts, they have different things to enjoy - like being connected to others easily online. If brands can find a way to close the market gap, there’s still hope for tween shoppers- the kids will be alright.

FASHION LION • THE ALBRIGHT COLLEGE FASHION DEPARTMENT MAGA ZINE

Photo by Kiara Cruz '25 Model: Evalina McBride '27 Styling: Emily Johnson '24

A Lasso Around Our Hearts

By Katelyn Schweitzer '24

This isn’t the fashion industry’s first rodeo, and it most certainly won’t be its last. Recently, fashion brands have been rounding up all things Western wear. However, fashion isn’t the only industry saddling up to the occasion. With artists like Beyoncé and Taylor Swift, the music industry is also hitching a ride on the Western saddle.

So how did the country revival begin?

As seen on Fashion Week runways as of late, fashion houses like Louis Vuitton and Edward Crutchley flashed sleek cowboy boots, stylish suede jackets, and classic cowboy hats in their most recent collections. According to Refinery29, these trends then infiltrated not only New York but the ever-evolving trend cycle. Putting their rightful owners (Southerns belles and farmers alike) aside, these fashion accessories have been altered and accepted in mainstream fashion, with the addition of rhinestones and intricate details.

Besides these trends being seen on the runway and in street style, TikTok has also played a huge role in shaping future fads. Many influencers on the app style outfits that give off the coastal cowgirl vibe - the yeehaw-ification of beachwear that consists of cowgirl boots and hats, printed floral blouses, leather tassels, velvet embellishments, and some sort of denim bottom such as shorts or a skirt.

Influencers can also be seen wrangling up dresses that are flowy and elaborate with intricate sleeves.

But the fashion industry isn’t the only cowboy in town; the music industry is right on its heels. According to an interview with Barbara Walters in 2014, Taylor Swift “is the music industry,” thus giving her tremendous influence over not just music but fashion too. Swift’s first three albums, Taylor Swift, Fearless, and Speak Now, all fall under the country music category, but respectively have unique sounds and aesthetics that align with different avenues of Western style. In the many eras that have followed these three albums, Swift has experimented with an indie and pop soundscape, hanging up her rodeo reins. Many fans of Swift predict and look forward to the Taylor’s Version of her debut album in the coming year, making it likely she will soon dive back into the realm of her country roots.

In addition, Beyoncé recently released her newest single, “Texas Hold ‘Em.” To many individuals, this not only came as a surprise, as she is the queen of R&B and pop, but Queen Bey is now stepping into her country era. Her new song still continues to be number one on the US Hot Country Songs for Billboard and has been for many weeks. Along with the new song, the singer was seen wearing a Western-styled outfit out and about. According to Women’s Wear Daily, her country couture look featured a white Stetson cowboy hat, a custom-made Louis Vuitton jacket, and shirt from the collection created by Pharrell Williams. Both the jacket and shirt were matching and designed with crystals.

It’s been a real hoedown throwdown for the fashion industry, and it seems that the country revival will continue - especially with summer right around the corner. With everyone saddling up their wardrobes with this style, cowboy hats and cowgirl boots are here to stay. However, these are not the only fashion accessories and pieces that hoot and holler Western wear flair. Adding a pair of leather bottoms or a velvet top will be sure to sharpen your look. A denim jacket, vest, or even a pair of bootcut or flare jeans will create a chic and classic vibe to your outfit. Last, but most certainly not least, adding some sort of decorative belt will make you and your outfit stand out.

19

Culture

Photo by Kiara Cruz '25 Models: Emily Johnson '24, Katelyn Schweitzer '24

Fashion's New Frontier:

Roping in AI

By Asha Johnson '23

Artificial intelligence, or AI, is a form of advanced technology that allows computers to perform tasks based on human intelligence. It is often programmed to react in real-time and improve itself over time. In recent years, AI has been widely adopted in different industries, including the fashion industry.

However, many remain skeptical and speculate AI and fashion’s future relationship.

In the fashion industry, designers are using AI to expand their creativity and technological advancements beyond their sketches.

They can load their sketches into the software and apply various colors, fabrics and more in order to see how they would look or move on a person. Designers can use avatars to model their clothing in virtual worlds such as the Metaverse and sell virtual clothing to consumers to buy for their own avatars. Additionally, AI can be used for trend forecasting, consumer data collection and sales projections. Designers can pull from this data and use it to create more profitable collections that their customers love.

AI has also been used by brands for various marketing ventures.

Marketing teams have been using software to predict consumer trends and figure out their target audiences to create more personalized marketing content and offers. For instance, on social media, AI can customize ads based on what consumers like or interact with. These positive interactions can lead to trend predictions. In physical stores, many brands use AI to plan out or organize store layouts and count inventory in real time. This is usually done via store tablets and/or computers that keep track of the clothing being sold, returned and new merchandise that comes in. This technology can scan the store's layout and determine where the new merchandise can go in the store. Some stores also use facial recognition so that customers can virtually “try-on” styles before making purchases. These tools can further increase profits and brand awareness.

There are various pros and cons when it comes to AI usage. For one, it leads to a faster design process and product innovation, helping designers create new garments and ideas for their collections. AI has an easy to use interface that allows for more accessibility and quicker results for designers. It can create more efficient ways to sell clothing and accessories, so brands can further improve their marketing. However, even with these benefits, the potential risks should be addressed. AI is still a fairly new phenomenon and sometimes has bugs that technology companies are still finding solutions for. Additionally, there are minimal government regulations and legal parameters set in place for it. This means that AI can be used in any way; the ethicality of usage has become more questioned because of this.

It is possible for these systems to have a bright future for the fashion industry. According to a McKinsey analysis, usage could add $275 billion to the fashion industry’s profits. With the increased demand from consumers to address sustainability, AI could help brands create more environmentally-friendly products and practices. This can be accomplished through a number of ways: creating more circular fashion, developing closed-loop supply chains and helping designers figure out ways to reduce waste or recycle. It can also further enhance the customer experience and help brands make purchasing easier for consumers.

This will not completely take over people’s jobs within fashion.

The fashion industry benefits so much from the human touch and there are things that designers bring to the table that technology alone cannot. AI should be used as more of a helpful tool for designers and fashion brands to enhance their skills. As usage increases, the legality and regulation of these networks need to become more enforced to ensure ethicality. AI is still a relatively new arena for fashion, but that does not mean that it does not have a bright future.

FASHION LION • THE ALBRIGHT COLLEGE FASHION DEPARTMENT MAGA ZINE

20

The Grass Isn’t Just Greener - It’s Pink

By Ally Santos '24

You’ve probably heard of the male gaze. It’s everywhere.

In “Visual Pleasure and Narrative Cinema,” film theorist Laura Mulvey labels females as the image and males as the onlookers.

More specifically, she states the obvious split between the passive female and active male in cinema and that “the male gaze projects its fantasy onto the female figure which is styled accordingly.”

The male gaze is presented as the standard in the media and it’s a problem. In this digital age, media is all around us whether it's television, movies or social media. What we see in the media can easily influence us and how we see and treat others. It can perpetuate the objectification of women, reinforce gender roles, and impact our own body image.

But the male gaze hurts men, as well. James Bond has been in movies since Sean Connery’s debut in 1962 with Dr. No. Bond fulfills the quintessential male gaze. He’s a suave, ultraconfident man and the camera often objectifies women through his perspective. How will young boys and men think they should treat women after seeing these films? How will they feel about themselves if they aren’t the most confident or attractive person?

This is why the female gaze is an important idea and has started to gain more traction in media in recent years. In Alexis Loftis’s article “The Female Gaze,” she notes that “the beauty of the female gaze is that it aims to empathize rather than objectify, to show emotion and intimacy while also showing respect… compared to the control, dominance, and superficialities of the male gaze.”

Most importantly, no one in the show notices she does these monologues to the audience except for The Priest. He doesn’t know she’s speaking to us but sees she goes somewhere in her mind. She’s not seen as an object- he truly sees her.

Fashion is an important element of the female gaze. While the male gaze portrays a very sexualized sense of fashion, for women especially, the female gaze centers on expression. Despite sex being a big part of Fleabag, the main character doesn’t necessarily dress “sexy.” Fleabag’s signature look is her dark bob, red lip, striped tops, and buckled trench coat. Costume designer Ray Holman says that by understanding Fleabag’s personality, he was able to create a cohesive and understated style for her.

In Haley Grindle’s article “The Fashion of Fleabag,” she states that Fleabag “doesn’t perform sexuality through her clothing in a way that we expect. The show breaks from overused stereotypes, portraying a more awkward, practical version of modern female sexuality.” In a sense, “sexy” is whatever you make it. Creating and consuming for the female gaze isn’t just for entertainment it’s about recognizing the value of portraying everyone’s different experiences so we can understand the world and each other a bit better.

So, what’s a good example of the female gaze?

Phoebe Waller-Bridge’s critically acclaimed show, Fleabag (2016), follows its namesake character, whose personality is as nihilistically feminist as she is strong. The show depicts very honest realities of heartbreak, happiness, terror, and grief. The audience watches an imperfect woman go through life which contradicts the entire basis of how women are viewed in the male gaze - perfect and two-dimensional.

Another character within the show that exhibits parts of the female gaze is The Priest. Played by Andrew Scott, he and Fleabag delve into a complicated relationship as she reveals feelings for him, and he can’t reciprocate because of his relationship with God. Despite this issue, they share a deep connection in comparison to other characters Fleabag interacts with in the show.

Fleabag constantly breaks the fourth wall, directly addressing the audience and talking as if the audience is with her. This fourth wall break, in my opinion, is meant to be seen as Fleabag retreating into her thoughts and away from the real-life situation.

21

Culture

FASHION LION • THE ALBRIGHT COLLEGE FASHION DEPARTMENT MAGA ZINE

Photo by Kiara Cruz '25 Model: Quinlyn Hoover '27 Styling: Emily Johnson '24

An Oscar for Your Thoughts.

Movies and television series have long been influential in shaping our entertainment preferences and our sense of style. From iconic costumes to on-screen characters' wardrobes, visual media has the power to create trends and shape styles. Whether it’s the silver or small screen, there’s probably been something you’ve watched that has inspired the way you dress, and you aren’t the only one.

Leading Ladies When you think of “Breakfast at Tiffany’s” (1961), the story is most likely not the first thing that comes to mind, but rather Audrey Hepburn’s portrayal of Holly Golightly, which became synonymous with elegance. Hepburn styled in a little black dress, clad with iridescent pearls and oversized sunglasses, remains a timeless symbol. The little black dress, so ubiquitous that it is often simply referred to as the “LBD,” is meant to be versatile and affordable, and remains epitomized in one of the most quintessential fashion films.

The same cult following occurred with 1990’s “Pretty Woman,” as Julia Roberts, who also donned an LBD, radiated onto the screen in a bright red, off-the-shoulder dress that has inspired for years. Besides the iconic red dress scene, Roberts’ casual 90’s looks throughout the film are still referenced by style gurus. Her newsboy cap and thigh-high boots are pieces that work just as well today as they did in the 90s. At the end of the film, she wears a plain white tee,

Or Maybe J

By Dylan Sokolovich '24 black blazer and belted “mom” jeans in a timeless combination, but the black silk Maddy Perez, portrayed by Alexa Demie, scrunchie is the highlight. One of the is the most iconic character in “Euphoria” most popular trends of the 2020’s thus for her outfit choices and can best be far, Roberts and her iteration were just accredited for bringing noughties trends the beginning. back in style. Cowl neck tops, velvet cutoffs, low-rise jeans, and baby tees have all Experimental Meets Chic become quintessential Demie style. She even revives the LBD and provides her The television sensation “Sex and the spin with a low cowl, off-the-shoulder City” revolutionized the fashion of the style and fingerless elbow-length gloves. late ’90s and early 2000s with daring, Demie’s signature makeup has also been trendy and sometimes controversial styles. a part of trends that include cat eyes, “SATC” inspired viewers to experiment exaggerated lashes and vivid colors. with their style, becoming what many consider a touchstone for self-expression Wearing Your Barbie Best in the world of fashion. Each of the four main characters had a distinct style that With many recent movies becoming reflected themselves and revolutionized quickly ingrained in popular culture, trends that remain popular. Most notably, the silver screen is more influential in Carrie Bradshaw (played by Sarah Jessica fashion than ever before. No trend better Parker) remains one of the best examples showcases this transcendence than 2023’s of high-low dressing; combining high-end “Barbie” and the rise of ‘Barbiecore.’ With designer pieces with thrift store finds. The “Barbie,” director Greta Gerwig redefined looks of her best friends- Samantha Jones, the stereotypical Barbie girl with blonde Charlotte York, and Miranda Hobbs hair and a perfect body.

– were equally as individual, showing viewers everything from power dressing Barbiecore is, of course, all things pink. to understated simplicity.

Margot Robbie’s iconic role as the Mattel doll quickly had high-end designers and A Y2K Renaissance street fashion enthusiasts picking up any hot pink item they could find. Combined If “Sex and the City” inspired the fashion with an over-accessorized look, largeof millennials, “Euphoria” has undeniably frame sunglasses, and heels, Barbiecore done the same for members of Gen Z and made it clear that it isn’t only okay to be Gen Alpha. Since “Euphoria” began airing feminine, it’s a great decision for your on HBO in 2019, its character’s styles have style.

With the massive popularity of consistently been creating trends. In fact, fan favorite films, as well as the growing N. Peal credits Euphoria for a 1,868% influence of fashion in television shows, increase in searches for “Y2K Fashion” it seems like both sets of screens will and a 66% increase for “low rise continue to be extremely important in trousers.” shaping the future of fashion.

ust One for

Your Ward

robe.

Photos by Kiara Cruz '25 Model: Emily Johnson '24